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Tabari McCoy

McCoy on Movies: LAST NIGHT IN SOHO

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Last Night in Soho shines as an expertly crafted psychological thriller set to a perfectly suited soundtrack

  “See that man behind me? The one who looks like a doctor? Who? Him!” Matt Smith stars as Jack and Anya Taylor-Joy as Sandie in Edgar Wright’ thriller LAST NIGHT IN SOHO. Credit: Parisa Taghizadeh 

WATCH THE TRAILER HERE:

 
DIRECTOR: Edgar Wright
KEY CAST MEMBERS: Thomasin McKenzie, Ana Taylor Joy, Matt Smith, Michael Ajao, Rita Tushingham, Synnøve Karlsen, Dame Diana Rigg and Terrance Stamp
 
 

 

THE BACK STORY: Eloise (New Zealand actress Thomasin McKenzie) – “Ellie” if you will – is a country girl with a simple dream: Move to the big city (in this case, London) and live out her dream of becoming a big time fashion designer. Her grandmother Peggy (Rita Tushingham), however, is very concerned for her well being, especially given what happened to Eloise’s mother (Amieé Cassettari) when she tried to do the same.
Arriving in London, Eloise quickly realizes things are a bit different in the big city. Her assigned roommate Jocasta (Synnøve Karlsen) is every bit the party girl she is not, making her seek refuge in the available space owned by Ms. Collins (the late Dame Diana Rigg). Much more suitable to her needs, Ms. Collins’ space is a perfect place for Eloise to enjoy her love of all things 1960s, from fashion to music.
The new space, however, comes with an unexpected surprise. For whenever Eloise – who has been having visions of her late mother back home – goes to sleep, she begins having visions of 1960s England and particularly of Sandie (Ana Taylor-Joy), a cabaret singer with impeccable fashion and style for days. She also sees visions of Jack (Matt Smith)a debonair playboy who seems like the perfect manager to Sandie.
But wouldn’t you just know it? Seems like the deeper into the world of 1960s London Eloise’s dreams take her, the deeper the glamour of the world unravels – especially since she starts having visions of shadowy figures and Sandie’s descent into madness. And as Sandie’s world starts to unravel in Eloise’s dreams, so does Eloise’s reality …
All that glitters may not be gold indeed; in this case, it could be fatal.

 

THE REVIEW: Last Night in Soho is not a gory, traditional hack and slash horror movie like the latest Halloween debacle. (If we’re friends on Facebook or have ever seen me do stand-up, you already know how I feel about the latest installment of that franchise.) What it is, though, is a very finely crafted psychological thriller that, in the wake of Harvey Weinstein, Bill Cosby and so many others, feels timely while also being stylish, intelligent and – at times – a little scary to boot.
McKenzie and Taylor-Joy shine as mirror images of each other. Separated by decades character-wise, each actress plays opposite the other well to make the film’s multi-dimensional existence work at every critical turn. Without their careful attention to detail, you wouldn’t feel any of the emotions that both ladies expertly convey to move the story forward, which is masterfully executed under the watchful eye of co-writer/director Edgar Wright.
Instead of a predictable story or one that is out to make a statement, you get a fine homage to 1960s without any Austin Powers hokeyness while also delving into the seedy underbelly of life in the big city. Nothing is rushed, everything is paced out as it should be and despite some secondary characters that could probably use a little more screen time and the story lacks predictable elements. Add in a soundtrack that enhances the story – each song selection is perfectly matched for both the era and the part of the story being told – as a character itself and everything simply works and works well.
In short, if you are looking for an entertaining thriller this Halloween, perhaps you should skip the more traditional fare and find a surprising treat in the form of Last Night in Soho.
OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

 

 

 

 

 

 

 

 

McCoy on Movies: The Hitman’s Wife’s Bodyguard

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Video game violence, foul language make for sometimes fun yet
ultimately frivolously The Hitman’s Wife’s Bodyguard

“Tell me there will be a third Deadpool!” Sonia Kincaid (Salma Hayek) speaks with a disheveled Michael Bryce (Ryan Reynolds) in a scene from THE HITMAN’S WIFE’S BODYGUARD. Credit: David Appleby. © 2021 Lionsgate Publicity. All rights reserved.

WATCH THE TRAILER(S) HERE:


 

DIRECTOR: Patrick Hughes

KEY CAST MEMBERS: Ryan Reynolds, Samuel L. Jackson, Salma Hayek, with Antonio Banderas, and Morgan Freeman, Frank Grillo, Caroline Goodall, Rebecca Front, Gabriella Wright, Alice McMillan, Kristofer Kamiyasu, Tom Hopper and Blake Ritson with Richard E. Grant


THE BACK STORY: The sequel to 2017’s The Hitman’s Bodyguard, The Hitman’s Wife’s Bodyguard once again stars Ryan Reynolds as Michael Bryce, a Triple A-rated bodyguard … Or at least he was. You see, he’s been having recurring nightmares after dealing with Darius Kincaid (Samuel L. Jackson), the man responsible for one of his greatest failures.

Unfortunately for Michael, his sabbatical from bodyguarding is about to come to an abrupt end thanks to Sonia Kincaid (Salma Hayek), a.k.a. Darius’ equally hotheaded – and lethal – wife. It seems her hubby has been kidnapped by the Italian mafia, the country where Michael just so happens to be trying to enjoy a much-needed vacation. But, as all three of them are about to find out when Aristotle Papadopolous begins to enact his plan to restore Greece as the head of European civilization, there will be no vacations anytime soon, especially as the body count starts rising.

THE REVIEW: The Hitman’s Bodyguard was a fun but frivolous hit when released to theaters nearly five oh so seemingly long years ago. The Hitman’s Wife’s Bodyguard, while fun, definitely ups the frivolous nature of things, feeling at times more like a live action video game than anything resembling a true movie.  Sure, there are some fun moments, but as a whole, the film is an unnecessary sequel akin to an Ocean’s Twelve or Thirteen where you can clearly tell the cast is having fun – possibly more than the audience.

Take plausibility out of the equation and The Hitman’s Wife’s Bodyguard is still a ridiculous, trio buddy comedy with Grand Theft Auto-level violence and profanity that, if he wasn’t in the movie, would likely make Jackson blush. Hayek is the clear star of the film as she proves she can be as rough and tumble as her male counterparts, but overall, The Hitman’s Wife’s Bodyguard is … Silly. Seriously. It’s a movie that feels like a 90s high school teen would have written or, at best, Michael Bay. It’s got some fun moments, but it’s nothing that will be the highlight of anyone’s resume thanks to the aforementioned video game level violence, constant quips and absolutely inane plot twists and turns.

In short, if you’re looking for 90 minutes of turn-your-brain-off-and-just-watch-it entertainment, you may enjoy The Hitman’s Wife’s Bodyguard. If you’re thinking of paying a premium for it, however, your wallet might need to be protected from you.
OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

 

 

 

 

 

 

 

 

McCoy on Movies: Spiral

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Chris Rock brings dramatic chops to Saw franchise’s latest spinoff

“Tell me one more time how you didn’t like either of the Grown Ups movies, I dare you!” Detective Ezekiel “Zeke” Banks” (Chris Rock) lines up a potential shot in a scene from director Darren Bousman’s SPIRAL: FROM THE BOOK OF SAW. Credit: Brooke Palmer © 2020 Lionsgate Publicity. All rights reserved.

WATCH THE TRAILER(S) HERE:

 
 
 

DIRECTOR: Darren Bousman

KEY CAST MEMBERS: Chris Rock, Max Minghella, Samuel L. Jackson, Marisol Nichols, Richard Zeppieri, Ali Johnson, Edie Inksetter and Daniel Petronijevic

THE BACK STORY: Ezekiel “Zeke” Burns (Chris Rock) is a detective with a lot of stress in his life. In addition to going through a divorce, he’s still living in the shadow of his father Marcus (Samuel L. Jackson), the former South Metro Police Captain. Throw in the fact he also turned in a dirty cop and took a bullet when his backup failed to arrive and Zeke understandable seems grizzled well beyond his years … Which should in turn explain why he has little to no desire to train a rookie detective in William Schenk (Max Minghella).
But when Zeke (with his new partner in tow) is called to the scene of what was suspected to be a homeless man hit by a subway train, he quickly learns that he now has an even bigger problem to deal with: A possible disciple of the former John Kramer, the serial killer known as Jigsaw …
THE REVIEW: What happens if you were to upgrade the acting of the past Saw films while retaining the – with apologies to All Elite Wrestling – blood and guts for which the franchise is known? Spiral answers that question: You get a movie that satisfies America’s longstanding obsession with serial killers while delivering a dramatic stage interesting enough to make you keep watching between the absolutely gruesome – and yes, I do mean gruesome – murders.
Say what you want about Chris Rock’s past movie work; the man has quietly been putting in work both in front and behind the camera for several years – and Spiral is his arguably his finest acting performance to date.
Spiral doesn’t work with Rock’s nuanced performance. Even when his hardened detective cracks the occasional joke, it doesn’t feel like you’re watching the stand-up comic that has been slaying audiences for the better part of four decades. Instead, you are watching a man battling inner and external demons, both of which come to a head once he starts seeing bodies of people he has a connection to start to pile up. If you were to remove the torture devices, it wouldn’t be a Saw spinoff (obviously), but it would still work as a serial killer drama – and that’s a testament to how far both Rock and longstanding Saw franchise head Darren Bousman have come.
If there was one nitpicky problem with Spiral, it would have to be part of the ending. Without going into detail, the “too cool to be bothered” explanation by the killer takes away a bit from the dramatic crescendo to which the film builds; given their motivation, this moment needs to be a bit more impassioned as opposed to coming off like “Oh yeah – I killed these people … You want some coffee?” Throw in one seeming hole that may or may not have been left open to some sort of sequel and it takes away a bit from the apex of the story, which is as over-the-top as you’d expect but mostly works … mostly.
But for a film that is arguably the best sequel of a franchise that most people would have been hard pressed to ever imagine upon the initial installment’s release, Spiral avoids going down one in fine, brutal fashion.
OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

 

 

 

 

 

McCoy on Movies: The Courier

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The Courier a solid if-not familiar Cold War drama best suited for older audiences

 

“This seems strange … There’s no caped superheroes here to back me up … And I have a mustache!” Greville Wynne (Benedict Cumberbatch) in a scene from Dominic Cooke’s based on a true story Cold War drama THE COURIER. Credit: Liam Daniel © Lionsgate and 2020 Roadside Attractions. All rights reserved.

WATCH THE TRAILER(S) HERE:

DIRECTOR: Dominic Cooke

KEY CAST MEMBERS: Benedict Cumberbatch, Merab Ninidze, Rachel Brosnahan, Angus Wright, Jessie Buckley, Petr Klimes and Kirill Pirogov

THE BACK STORY: Greville Wynn (Benedict Cumberbatch) is a simple businessman, nothing more, nothing less. Then his life is turned upside down when a MI-6 agent (Angus Wright) and a CIA operative (Rachel Brosnahan) approach him with a request: Get information from would-be Russian defector Oleg Penkovsky (Merab Ninidze) about the Soviet supply of nuclear weapons to help prevent a third world war at the height of the Cuban Missile Crisis.
As long as Greville and Oleg don’t get caught by Gribanov (Kirill Pirogov) and/or any other KGB agent, for that matter, everything should be just fine …
THE REVIEW: The Courier is fine. Cumberbatch commits to the role of Greville well, playing him with fish out of water sensibility quite well while Ninidze is convincing as Oleg. Likewise, Jessie Buckley is a classic mid-20th Century housewife as Sheila, demure yet confident and guarded given her husband’s past indiscretions only to reveal a softer side as the story progresses.
In similar fashion, Brosnahan is steadfast in her mission as CIA operative Emily Donovan, playing well against the traditionally reserved British gentleman that is Angus Wright’s Dickie Franks. And then there’s Kirill Pirogov’s performance as Gribanov, a man who is not so much a villain as a man committed to his cause, just as the American forces that are convinced they are right, so is he.
So what then, keeps The Courier from excelling to higher heights? It could be the familiarity of the entire affair (the Cold War has been cinematic fodder for 70 years). It could also be the familiarity of the characters (the tension between husband and wife in Greville and Sheila, the cat-and-mouse set ups as the story progresses with the foreshadowing being fairly heavy to the point it feels a bit too predictable. This does change, however, at about one hour into the story, but there is one grandiose moment that feels a bit to “made for the movies” for its own good.
In short, The Courier is a solid historical drama for those already interested in the subject matter that pays respect to its subject … It just lacks something inherently dynamic about it the way a say Good Night and Good Luck grips you. Think of it like a good meal at a restaurant you frequent. It’s solid, but it’s familiar. It feels like a film for an audience of a certain age, which is a bit of misstep given that it is based in a classic tale of espionage.
And for a man who’s story is largely unfamiliar to the world, you might be wishing there was just a little more than that.
OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):
 

 

 

McCoy on Movies: Promising Young Woman

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 a #MeToo-era thriller sure to rouse audiences

Carey Mulligan stars in Promising Young Woman
“You know, with my reading a book like this, you’d think the male characters might realize something is up …” Cassie (Carey Mulligan) takes a break from work in a scene from writer/director Emerald Fennell’s black comedy/revenge thriller PROMISING YOUNG WOMAN. Credit: Courtesy of Focus Features. All rights reserved. 

WATCH THE TRAILER(S) HERE:

DIRECTOR: Emerald Fennell

KEY CAST MEMBERS: Carey Mulligan, Bo Burnham, Chris Lowell, Laverne Cox, Alison Brie, Jennifer Coolidge, Clancy Brown, Sam Richardson, Christopher Mintz-Plasse, Adam Brody with Connie Britton, Molly Shannon and Alfred Molina

 


THE BACK STORY: Cassandra “Cassie” Thomas (Carey Mulligan) leads a very interesting life. Working at a local coffee shop under her boss Gail (Laverne Cox), she still lives at home with her parents Susan and Stanley (Jennifer Coolidge and Clancy Brown) despite being on the cusp of her 30 birthday and seemingly has no friends. Well, she did have a friend in Nina, her medical school colleague who suffered a very unfortunate incident that contributed to her untimely demise.

Be that as it may, Cassie has found a new hobby: Going to night clubs and acting highly intoxicated, waiting for an unsuspecting male suitor like Jerry (Adam Brody) … or Paul (Sam Richardson) … or Neil (Christopher Mintz-Plasse) to pick her up to take her home. Then she teaches them a lesson they’ll never forget so that they don’t try and do something like that ever again.

So, when Ryan Cooper (Bo Burnham), another former medical school colleague, strolls into the coffee shop to ask her out, she is obviously reluctant to do so at first. But while Ryan continues his pursuit of her, Cassie learns of some news about another former college colleague, it sets in motion a series of events that will show hell hath no fury like a Promising Young Woman scorned …

THE REVIEW: The type of movie that women will rally behind and make more than one man reconsider apologizing for any and all past misdoings, Promising Young Woman has some moments that might feel a tad over-the-top … But the payoff of writer/director Emerald Fennell’s work is definitely worth the price of admission.

Mulligan’s diligence to making Cassie a character you understand the motivations is what drives Woman from start to finish, even at times when some characters could seemingly be forgiven for their actions. But, in the tradition of films like Who’s Next?, Peppermint and Gone Girl, Mulligan’s total commitment makes you forgive any of the films flaws and/or exaggerations necessary to make the film work. Credit should also go to Fennell – who was nominated for two Emmys during her time as the showrunner for Killing Eve – however, for making every one of her lead’s actions both understandable, relatable and much more sympathetic than the alternative. Cassie prefers to prevent instead of punish in most instances, keeping her character’s female machismo from reaching the cartoonish levels of that plagued the most recent Charlie’s Angels film from start to finish.

To say much more will ruin some of the surprises that lie ahead in the film; all you need to know is the film’s trailer gives you just enough information to let you know the promise of the film deserves your interest.

If nothing else, it’ll be a good conversation starter if you suspect you have a significant other with whom you wish to talk.
OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):
 

 

McCoy on Movies: Kajillionaire

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Kajillionaire will prove quirky fun for some, but will just be different for others

“Now, just remember, if anyone asks, we went grocery shopping BEFORE it was mandated you had to wear a mask in public!” (Gina Rodriguez) and Old Dolio Dyne (Evan Rachel Wood) go out for a non-grifting grocery trip in a scene from writer/director Miranda July’s KAJILLIONAIRE. Credit: Matt Kennedy / Focus Features © Focus Features. All rights reserved.

WATCH THE TRAILER(S) HERE:

DIRECTOR: Miranda July
KEY CAST MEMBERS: Evan Rachel Wood, Gina Rodriguez, Richard Jenkins and Debra Winger


THE BACK STORY: Old Dolio Dyne (Evan Rachel Wood) is a 26 year-old Los Angeles resident. Her home, however, is unconventional as it is an office space next to some sort of industrial park where a pink liquid oozes into the room. Joining her in this most unconventional of living spaces are her parents Theresa (Debra Winger) and Robert (Richard Jenkins), grifters by trade who are always on the lookout for their next scheme or heist. It’s not a good life, but it’s the only one Old Dolio knows.

Then Melanie (Gina Rodriguez) comes into the picture.

Meeting her by chance on a flight as part of their latest scheme, Melanie seems excited at the prospect of getting into a new line of work and comes up with a plan of her own to pull off a new heist. But, as Melanie’s love of life – and other circumstances – start to open up her mind to other aspects of the human experience, Old Dolio starts to question her current existence and what could lie ahead in the future.

Who knows – becoming rich in her own spirit might be the most rewarding prize of all.

THE REVIEW: “Quirky.” “Abstract.” “Weird.”

Sometimes you watch a film and appreciate it for what it is, even if it’s not something you really enjoyed, so to speak, yourself. In the case of Kajillionaire, you likely will find yourself wrestling with that same emotion due to the committed performance of Wood against a story that essentially can be viewed in one of two ways: (1) This is a (insert one of the three adjectives above) story about broken people and someone trying to find what many of us inherently do (or at least, believe we should enjoy) or (2) This is a (insert one of the three adjectives above) that is just (insert one of the other two remaining adjectives above).

Earlier this month, Wood gave a rather revealing interview to The New York Times in which it was revealed she uses many of her roles to heal herself from past trauma. That in turn should help explain her (1) connection to Old Dolio and (2) portrayal of the character, a woman who has never felt any real (or, if you prefer, “normal”) emotions to or from anyone, including her parents. She is essentially – like many of the personalities on her HBO series Westworld – a near-robotic humanoid life form who knows her role and her function in the functioning disfunction that is her family’s business. You get to watch a young person (Wood may be 33, but she pulls off 26 with a way that makes her character feel even younger) coming to grips with her concept of the world around her and trying to deal with deprogramming herself in the process. Whereas as Rodriguez gets to play an upbeat, bouncy young woman who seems very eager to get involved in something she sees as exciting, Wood’s character is a solitary, introverted one growing desperate to escape her reality.
If you enjoy the films of Wes Anderson, you’ll likely like Kajillionaire, which are the first type of things that come to mind in terms of the humor (which is SPARSE). If you simply enjoy a deep dive into a character (even if the others aren’t characters aren’t explored enough as you’d hope), you’ll probably enjoy Kajillionaire.
Then again, if watching people who are essentially without redeeming qualities do nothing to change your opinion of them over the course of 100 minutes, are weird seemingly for the sake of it and/or are the type of people you’d see in Walmart, report to an employee and then leave, this is not the movie for you. What will find intriguingly unconventional, others will find annoying. Whereas some will be drawn to Wood’s performance of a shy, sheltered introvert, others will see the weirdo in their high school class they one day figured would end up on the local news for less than stellar reasons. If you start to watch the movie, you’ll likely watch it to the end to see what will happen, only to probably be either elated or deflated by what happens.
In much the same fashion that very few are destined to become millionaires and billionaires, Kajillionaire is likely only for the select few. But those select few will really enjoy it no matter what the rest of us see.
OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):
 

 

 

 

 

McCoy on Movies: The Broken Hearts Gallery

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A romantic comedy for the woke generation hits the big screen with The Broken Hearts Gallery

 

 

“Girl … You just know anyone who owns a MAGA hat is not going to enjoy this movie!” Lucy (Geraldine Viswanathan, center) hangs with her friends Amanda (Molly Gordon, right, in nurse outfit) and Nadine (Phillipa Soo, left) in a scene from writer/director Natalie Krinsky’s romantic comedy THE BROKEN HEARTS GALLERY. Credit: George Kraychyk © 2020 Columbia TriStar Marketing Group, Inc. All rights reserved.

 

WATCH THE TRAILER(S) HERE:

DIRECTOR: Natalie Krinsky
KEY CAST MEMBERS: Geraldine Viswanathan, Darce Montgomery, Molly Gordon, Utkarsh Ambudkar, Phillipa Soo, Arturo Castro, Suki Waterhouse, Nathan Dales, Ego Nwodim, Tattiawana Jones and Bernadette Peters


THE BACK STORY: Lucy (Geraldine Viswanathan) shares an apartment in New York City with her longstanding friends Amanda (Molly Gordon) and Nadine (Phillipa Soo). While Amanda has found her niche with her silent boyfriend Jeff (Nathan Dales) and Nadine dumps her suitors before she can barely learn their names, Lucy doesn’t do well with breakups, which is why she keeps mementos from all of her past relationships in her room. Thus, when she sees her boyfriend/co-worker Max (Utkarsh Ambudkar) a little too close to an old flame (Tattiawana Jones) during an event at the art gallery owned by Eva Woolfe (Bernadette Peters) where they both work, the alcohol and insecurity mix to cause an incident.

This leads to her inadvertently meeting Nick (Darce Montgomery), an aspiring niche hotel designer she mistakes for her Uber (or is it Lyft? We may never know …) driver. But as fate would have it, this chance encounter could end changing both of their lives – and countless others struggling to get over their old flames – forever.

THE REVIEW: A film that has to be the early contender for the most woke mainstream romantic comedy released by a major Hollywood studio during a pandemic thus far, The Broken Hearts Gallery is a predictable yet enjoyable romantic comedy that gives hope to hopeless romantics everywhere.

A romantic comedy for millennials that makes sure to check (nearly) every box on the inclusion checklist, The Broken Hearts Gallery works well enough largely due to the hot-mess-that-you-still-root-for performance of Viswanathan. Sure, there are times when she and her cohorts’ behaviors make you question whether or not they are parodying millennials or portraying them with annoying accuracy, but the overall charm of the characters makes you want to see them reach their eventual destiny.

Again, this isn’t meant as a diss to the film; there’s just nothing happening here that really hasn’t been seen before. Girl loses boy. Girl acts out. New boy shows up. Audience can tell they should be together long before either of them realizes it. Comedy ensues. Dramatic moment ensues. You get it; it’s the heart of the characters and interplay between them that makes it entertaining.

When so many of us are feeling brokenhearted over the world at large, The Broken Hearts Gallery should provide some lighthearted, carefree relief – and that in of itself makes it worthy of a watch (save for anyone who can’t deal with a strong LGTBQ+ presence/minority/female presence).

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):
 

 

 

 

McCoy on Movies: Irresistible Skewers Modern Politics

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“Hmmm … Do you think that the NFL is going to have a season this fall or no?” Gary Zimmer (Steve Carell) and Diana Hastings (Mackenzie Davis) ponder their next move in a scene from writer/director Jon Stewart’s political satire IRRESISTIBLE. Credit: Daniel McFadden / Focus Features.

 

WATCH THE TRAILER(S) HERE:




KEY CAST MEMBERS: Steve Carell, Chris Cooper, Rose Byrne, Mackenzie Davis, Topher Grace, Natasha Lyonne, CJ Wilson, Brent Sexton and Will Sasso DIRECTOR(S): Jon Stewart

WEB SITE: www.watchirresistible.com

THE BACK STORY: A story of politics and tricks, Irresistible stars Steve Carell as Gary Zimmer. A strategist for the Democratic party, Gary is seeking a candidate that can galvanize the party — and more importantly, the general public – as a potential future presidential candidate.


And that’s when he comes across a viral video shot in Deerlaken, Wisconsin featuring Jack Hastings (Chris Cooper).


A retired Marine colonel, Jack’s speech at a local city council catches Gary’s attention as it has everything he could want in a candidate: Passion, emotional appeal and all American values with compassion for his fellow man. Intrigued, Gary heads to Deerlaken to convince Jack to run for office while getting to know his daughter Diana (Mackenzie Davis). Problem is, once Gary sees the opportunity to turn Jack into a star, his Republican strategist rival Faith Brewster (Rose Byrne) arrives on the scene to help the town’s incumbent mayor (Brent Sexton) win at any cost. 


So, what happens when small town America becomes the center of the political universe? A story that, as the events are set to prove, makes politics as unusual irresistible. 

THE REVIEW: Written and directed by Jon Stewart (yes, the former host of The Daily Show), Irresistible is a classic slow build comedy where sitting through the lead up to the payoff can at times feel a little like a chore – until the payoff hits.Carell is much like a smarter, savvier version of his former Michael Scott persona from The Office days with Byrne serving as a very Kellyanne Conway-esque foil to his character. Likewise, Cooper – ever great at playing the older everyman – turns in another solid performance to add to his extensive resume while showing a softer side than he typically gets to exhibit. And Davis is competent enough to do everything her character needs to do in a believable fashion to keep things moving along.

The thing, as alluded to above, that makes Irresistible a solid watch is the film’s last 15 minutes in which the point of the film hits home. Given Stewart’s knowledge (and well-known) critique of the American political system as it stands today, Irresistible sharply skewers everything from cable news, viral videos, the selling of a candidate’s image versus what they actually believe and of course, the two party system as a whole. While not re-inventing the wheel in any sense, Irresistible‘s biggest joke comes in showing how much the current setup is primed to show the joke is on all of us.

In doing so, the film packs enough laughs to show why, without major change, our current political system is quite possibly no laughing matter.

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

 
 

McCoy on Movies: Amazon Studios’ Hijacking Thriller 7500 Fakes Familiar, Mediocre Flight

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“I really wish I had watched that Blu-Ray of Airplane my friend gave me before I got up here!” Tobias (Joseph Gordon-Levitt) finds himself in not-so-friendly skies in director Patrick Vollrath’s hijacker thriller 7500. Credit: Courtesy of Amazon Studios. All rights reserved.

 

 

WATCH THE TRAILER(S) HERE:

 




KEY CAST MEMBERS: Joseph Gordon-Levitt, Omid Memar Murathan Muslu, Carlo Kitzlinger, Aylin Tezel and Paul Wollin
DIRECTOR(S): Patrick Vollrath

LINK TO WATCH NOW: Watch here
THE BACK STORY: Tobias (Joseph Gordon-Levitt), an American, is set to serve as the co-pilot to Michael (Carlo Kitzlinger) as they fly from Berlin to Paris. Tobias’ girlfriend/mother of his child (Aylin Tezel) is one of the flight attendants and much more interested in discussing their personal lives than the flight ahead of them.


That all changes, however, when three hijackers – Kenan (Murathan Muslu), Daniel (Paul Wollin) and teenager Vedat (Omid Memar) – armed with piece of broken glass make an attempt to take over the plane. Tobias is successful in subduing Kenan and locks the cabin on his accomplices, but not before grave injury to Michael. Thus, when Daniel begins threatening the lives of the other passengers on the plane unless he is let back into the cockpit, Tobias – dealing with a severe injury of his own, is left with extreme moral dilemmas and not much time in which to make them.

THE REVIEW: 7500 starts off intriguing … And then pretty much crashes and burns thanks to a familiar plot line that brings nothing new to the table. While Gordon-Levitt clearly shines above his co-stars, there are plot points that don’t feel realistic in the circumstances presented, the secondary characters are either over-developed in cliché fashion or barely developed at all … And the overall Muslim hijacking storyline is “been there, seen that” pretty much from beginning to end.Fortunately, at barely over 90 minutes including the credits, 7500 has enough inherent “how will it end?” intrigue to it to keep enough people watching … Even if it ends how 90% of people are likely to figure it out. Director Patrick Vollrath keeps things tight and claustrophobic to enhance the super-familiar story, but there’s a good chance that if you’ve seen a plane hijacking film recently, you’ll ask for transfer and/or put 7500 on a quick layover and not get back on the flight.

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

McCoy on Movies: Selah and the Spades 

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“Hi … This is my ‘I’m a serious person despite my age’ face.” Selah (Lovie Simone) runs an empire at a Pennsylvania prep school in Amazon Studios new teen drama SELAH & THE SPADES. Credit: Amazon Studios. All rights reserved.

WATCH THE TRAILER(S) HERE:




KEY CAST MEMBERS: Lovie Simone, Celeste O’Connor, Jharrel Jerome, Ana Mulvoy Tan and Jesse Williams DIRECTOR(S): Tayarisha Poe

LINK TO WATCH NOW: Watch here
THE BACK STORY: Set inside the world of Haldwell, an elite Pennsylvania boarding school, Selah and the Spades focuses on Selah Summers (Lovie Simone), leader of the Spades, one of five factions that essentially run the school’s underworld. There’s also the Skins, the Sea, the Prefects and the Bobbies, the latter of which is run by the appropriately named, beret wearing Bobby (Ana Mulvoy Tan). Each group has their specialty operation, the Spades being the most powerful (much to Bobby’s chagrin) since they supply the student body with classic vices in drugs and alcohol. But now, Selah has unexpectedly found herself with a bit of an existential crisis as being a senior, she will soon graduate and has no one to whom to pass her power. Her second in command, Maxxie (Jerrell Jerome), isn’t an option.


Enter Paloma (Celeste O’Connor).


A sophomore with an eye for photography, Paloma catches Selah’s attention, quickly forming a friendship. But as Paloma star rises, Selah start to re-assess what it means to have power and her legacy.

THE REVIEW: 21.46. That’s the exact amount of time that passed before I realized that writer/director Tayarisha Poe’s debut feature Selah and the Spades was not for me. And if you’re out of high school, I doubt it will be for you as well thanks to an underwhelming story, a mis-mash of performances and an ending that is as unremarkable as the 80-plus minutes that precede it.Poe is on record as saying she likes “stories about people who do something that everyone agrees is wrong but no one thinks they are wrong in doing it.” That explains the motivation of the making of Selah; what it doesn’t explain, however, is why anyone else should feel compelled to watch the finished product. The film plods along as a snail’s pace despite barely being 90 minutes and change with credits, the interesting story – the five factions – is not the focus of the story (at least the opening narration warns of that) and thus feels like it only exists to push Selah’s exploration of her life. Whereas there are plenty of compelling teen dramas that anyone can relate to, Selah feels like it exists for the sake of its own (in this case, its writer/director’s) vanity. While it is nice to see a film showcasing African-Americans in a light rarely if ever seen – Selah is empowered yet conflicted in proving herself because of her tenuous, under-explored relationship with her mother – in motion pictures, the movie is just … not interesting. The premise is there and Simone seems capable of making the story work despite a supporting cast outside of that doesn’t offer much outside of O’Connor but the movie … just doesn’t work.

The world in which the characters exist feels incredibly forced: Williams’ headmaster would be fired for his ineptitude in real life, the underutilized factions and their council are as ridiculous as the average talking head news panel. Likewise, Selah’s character, which is supposed to be multi-faceted, is nowhere near as complex and nuanced when you break it down and the whole affair feels like a teen drama taken to an extreme for the sake of itself. Save for teens invested in watching people their age explore something they often don’t have as they mature – power (which is what the film tries to convey) – most people will find the film much like it’s story: Underdeveloped, underwhelming and underserving of the love the people that would be most invested in it (youths, African-Americans).

I wish Selah and the Spades had more to say or, at the very least, did it better. Then again, maybe like high school itself, it’s better left to just the cool kids.

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

 
 

McCoy on Movies: Wendy

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Peter Pan and friends endure a terribly boring
and uninteresting adventure in Wendy

Titular character Wendy (Devin France) and Peter Pan (Yashua Mack) prepare to fly in a scene from director Behn Zeitlin’s imaginative re-envisioning of J.M. Barrie’s story about children who never grow up in WENDY. Credit: Photo courtesy of Searchlight Pictures © 2020 Twentieth Century Fox Film Corporation. All rights reserved.


WATCH THE TRAILER(S) HERE:




KEY CAST MEMBERS: Devin France, Yashua Mack, Gage Naquin, Gavin Naquin, Ahmad Cage, Krzysztof Meyn, Romryi Ross and Shay WalkerDIRECTOR(S): Behn Zeitlin

THE BACK STORY: A wildly different take on previous Peter Pan productions, Wendy stars Devin France as the titular character. Wendy, along with her two brothers Douglas and James (played by real life brothers Gage and Gavin Naquin), is a young child who we are first introduced to inside of the greasy spoon where their mother (Shay Walker) works. When the trio of siblings were younger, their friend Thomas (Krzysztof Meyn) went off on a train and was never seen again. 


Curious as to what happened, Wendy and her brothers one night sneak off when the train reappears. That is how they meet a young boy named Peter (Yashua Mack) who leads them on a journey to a mysterious island where children never age – as long as they believe in the island and “Mother,” a glowing whale-like sea creature that serves as the heart and soul of the island. The children enjoy their stay at the beginning, playing from sunrise to sunset … But they have no idea what awaits them as their extended stay turns into a life-changing experience, provided Wendy can get her family home once again.

THE REVIEW: In contention for both the most imaginative and worst movie of 2020 thus far, Wendy is at best wild and weird and at worst boring and grandiose.How can you take a classic for most and, at the very least, extremely familiar, story and turn it into a nearly 2 hour epic with no audience? Well, if you’re co-writer and director Behn Zeitlin (Beasts of the Southern Wild), you (1) take a children’s tale and make it geared towards an adult audience as you (2) have underperforming young actors recite (3) inane dialogue whilst (4) telling your story at an extremely methodical pace (5) too slow for children and too (6) plodding for adults. The movie is an art house take on a classic children’s story that is too artistic for anyone to be as entertained as the is it by itself.

While some will praise (or at the very least, commend) Zeitlin for his progressive thinking in his casting, a Caribbean Peter Pan with a distinct patois is something you’ll either be on board with or not. Likewise, the Pan character as portrayed in Wendy is both aloof and self-absorbed and less a compelling figure as much as he is a necessary conduit to arrive at various story points. (And not to criticize a child’s acting, but given that this is a critique, there are times Mack does not seem like the best choice for Zeitlin’s vision.)

Likewise, the older actors feel like last-minute replacements in their limited roles that match their limited acting skills. In addition, the new “mother” figure in the film – a deep sea creature that serves as the heart of the mythical island that Peter literally calls Mother – is a terrible metaphor for childhood/innocence and a lousy replacement for the role Wendy has in Barrie’s work. There are several plot discrepancies tied to the creature, which is a lot like the movie itself: An interesting but hodgepodge albatross that underdeveloped and misrepresentative of whatever it is supposed to represent.

Given the nearly decrepit pace the story moves at – coupled with the odd camera choices – Mack is the least of the film’s problems. Whereas Wendy aims to be ambitious, it often comes off as forced, odd for the sake of odd and at worst, completely non-compelling. It simply exists for its own sake with payoffs coming off so heavy-handed there is no inherent intrigue other than seeing how it ends.

These are all the reasons that Wendy is better off, like the Lost Boys themselves, staying missing from your movie viewing queue.

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

 

McCoy on Movies: Onward

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Disney•Pixar takes animated, emotional, teenage sibling tale with a
Weekend at Bernies’s flair in its latest adventure Onward

“If this weren’t an animated movie and this were happening, one of us would be on the way to the hospital!” Barley (left, voiced by Chris Pratt) and his brother Ian (right, voiced by Tom Holland) share a dance with their father – or at least half of him – in a scene from Disney/Pixar’s latest adventure ONWARD. Credit: Pixar © 2019 Disney/Pixar. All rights reserved.

WATCH THE TRAILER(S) HERE:



 

KEY CAST MEMBERS: Tom Holland, Chris Pratt, Octavia Spencer, Julia Louis-Dreyfuss Mel Rodriguez, Lena Waithe and Ali WongDIRECTOR(S): Dan Scanlon

THE BACK STORY: Once upon a time, the world in which elf brothers Barley (Chris Pratt) and Ian (Tom Holland) Lightfoot now live was full of magic. But then innovation in the form of technology took over, leaving magic to fade into the point of almost existing as nothing more than folklore. And for Barley, that’s something he misses greatly as magic and lore is his favorite thing in the world. In contrast, Ian doesn’t really know what his favorite thing yet as his shy, awkward nature often keeps him from socializing – which is a problem since he’s about to celebrate his 16th birthday. His mom Laurel (Julia Louis-Dreyfuss) just wants the best for both her sons, even though there’s something she knows that Ian misses his father Wilden something awful. Passing away during Ian’s youth, Wilden is an enigma to his youngest son who wishes he could just get the chance to spend some quality time with him.


Then, Laurel reveals a gift from Wilden that changes everything … If they are able to complete a magical quest like the ones Barley has been training for his entire life. Now, it’s up to both boys – despite all the colorful characters they’ll meet along the way – to make their wish to see their father again come true.


And to do so, they must move onward …

THE REVIEW: At this point, Disney•Pixar has pretty much perfected the way it makes movies to a science: (1) Insert cutesy scenario with characters that at first seem nice and whimsical; (2) Add emotional depth to the story by making the most non-human characters as human as possible with a variety of emotional struggles; (3) Add enough depth to make them relatable to the struggles of young people while at the same time making them palatable to adults – or in the case of Up, reverse the formula and (4) Bring the story to an emotional, action-packed climax with the occasional twist, turn and dose of comedy that everyone has come to love.Onward, which begins with a more serious, straightforward tone than many Disney•Pixar ventures, does all four of these things to deliver the quality entertainment for three decades-plus.

Adolescence is a popular movie staple for a simple reason: It’s a time period that so many struggle with yet shapes us all in so many long-lasting yet unique to us all ways that you can seemingly never run out of means to do so. With Onward, Disney•Pixar explores sibling rivalry, the path to self-discovery and the importance of a parental figure/mentor in a child’s life – all with the humor, conflict and heartwarming resolution audiences love. Holland, essentially channeling all of his Peter Parker energy into Ian, delivers a solid performance that gets to the heart of his character’s issues, which makes his eventual outcome all the more worthwhile. Pratt for his part plays a great second banana to steer Holland’s character through his journey. Likewise, Waithe adds a much-needed dose of playful enthusiasm as The Manticore, a legendary creature who has fallen victim to the convenience of the modern world and director Dan Scanlon’s Weekend at Bernie’s-like usage of the boys’ father.

It all adds up to an entertaining package which should inspire audience to march onward to the theater to enjoy another (near) perfect Disney•Pixar entertaining, family-friendly adventure.

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

McCoy on Movies: The Invisible Man

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An old horror icon gets re-envisioned for the #MeToo era in The Invisible Man

“Take my hand … And then watch me try to kill you with the other one!” Cecilia Kass (Elisabeth Moss) showers while an unbeknownst presence keeps watch in a scene from Saw-alum Leigh Whannell’s THE INVISBLE MAN. Credit: Universal Pictures. © 2020 Universal Studios. All rights reserved.
 

WATCH THE TRAILER(S) HERE:


 

KEY CAST MEMBERS: Elisabeth Moss, Aldis Hodge, Harriet Dyer, Oliver Jackson-Cohen, Storm Reid and Michael Dorman DIRECTOR(S): Leigh Whannell

THE BACK STORY: Cecilia Kass (Elisabeth Moss) is an architect that seemingly has it all given that the house she lives in is nothing short of a multi-million dollar beachfront palatial estate in San Francisco. But that doesn’t explain why Cecilia is attempting to flee in the middle of the night, now does it? No, that answer comes in the form of the abuse Cecilia claims her now ex, Adrian Griffin (Oliver Jackson-Cohen) has heaped upon her mentally and physically. Barely escaping, Cecilia takes refuge with a childhood friend turned police detective in James (Aldis Hodge) and his daughter Sydney (Storm Reid). 


Then Adrian’s brother – and the director of his estate – Tom (Michael Dorman) informs Cecilia and her sister Alice (Harriet Dyer) with bombshell news: Adrian, a tech magnate who built his fortunate in the field of optics, has committed suicide and left her millions to be paid out in increments of $100,00 over the next few years – as long as she doesn’t commit any crimes and lives a generally good life. There’s just one problem …


Cecilia, over the course of a series of rather weird and unfortunate events, becomes convinced Adrian is still alive. And he’s apparently determined to drive her insane – or worse. Thus, Cecilia is forced to answer a question most people would never ponder.


How do you prove someone who is supposed to be dead is very much alive and torturing you when no one – including you – can see them?
THE REVIEW: There are typically two types of movies released in the first few months of a new year: (1) Award contenders/art house endeavors that studios hope get that one last push before the statues are given out and (2) films that the studios greenlighted … But in retrospect probably wish they hadn’t (Fantasy Island, anyone?) But, every once in a while, you get those “‘tweeners:” Movies that have elements that are somewhat enjoyable and fun … Even though you know in your heart you really wouldn’t call it a “good” movie.About one hour into writer/director Leigh Whannell’s (the Saw and Insidious franchises) take on the often forgotten (no pun intended) member of Universal’s monsters, it becomes quite apparent The Invisible Man matches the last description to a “T.”

On the pro-side, Moss delivers enough of an emotional performance to drive The Invisible Man, which is essentially a domestic abuse tale examining what happens to victims at the hands of their accusers. Moss carefully walks the line between movie dramatics and emotionally believability to keep her character’s credence valid, never giving in to the temptation to go bad 80s horror movie scream queen at each abusive turn. She is by far the most interesting character on screen, making her character interesting enough to keep watching the film to its climax. There’s also enough twists and turns to keep you intrigued in what will happen, a must in a film where too much predictably could have been present.

On the con-side, however, the majority of characters that aren’t Moss – Dorman is acceptable as Adrian’s brother – are lackluster in either direction or execution (again, no pun intended). Likewise, most of the scenes where Moss and others are attacked by, well, an invisible assailant just feel cartoonish despite the cast and crew’s best efforts. Thus, you get a mixed bag of push/pull that keep the film from diving too far off the deep end, but a lot of missed opportunities that could have pushed it into groundbreaking territory. However, by focusing on Moss’ character’s pain, The Invisible Man basically becomes a metaphor for all the abuse women have suffered at the hands of men in the #metoo era – and a stern warning to men about what could happen if they refuse to stop it.

All things considered, The Invisible Man isn’t a great movie by any means, but it’s not a completely unwatchable mess, either. It’s more a simple thriller for those seeking a simple thriller, but one that may catch fire due to today’s current socio-political climate. Some people may hate it, some people may love it – and arguments can be made to justify both’s point of view objectively.

Just don’t say you weren’t warned, however, if you come expecting to “see” something more.

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

McCoy on Movies: Bad Boys for Life

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Lawrence, Smith reunite for entertaining nostalgia in Bad Boys for Life

“Over here, partner – I think I see the dude who convinced me to do Gemini Man! Mike Lowrey (Will Smith) and Marcus Burnett (Martin Lawrence) proceed with caution in a scene from co-directors Adil & Bilall’s addition to the Bad Boys franchise, BAD BOYS FOR LIFE. Credit: Ben Rothstein ™ 2019 CTMG, Inc. All rights reserved. 


WATCH THE TRAILER(S) HERE:



 

KEY CAST MEMBERS: Will Smith, Martin Lawrence, Joe Pantoliano, Paola Nuñez, Vanessa Hudgens, Alexander Ludwig, Charles Melton, Nicky Jam, Jacob Scipio and Kate del CastilloDIRECTOR(S): Adil & Bilall

THE BACK STORY: Mike Lowrey (Will Smith) has never needed the money. He has that thanks to his inheritance. He’s also apparently never needed love; sure he’s had “love” but nothing like what his partner Marcus Burnet (Martin Lawrence) and their always embattled leader, Captain Howard (Joe Pantoliano), have in their lives. Sure, he had a thing with Rita (Paola Nuñez) in the past, but that’s in the past. 


So, when his partner to make good on his threat to retire upon becoming a grandfather, Mike makes a bet with Marcus and wins – only he doesn’t get the chance to collect on that bet due to a ghost from his past: Isabel Aretas (Kate del Castillo), a.k.a. the Witch. It seems Isabel has an old score to settle with Mike from a very long time ago and has no problem using her willing son Armando (Jacob Scipio) to collect the debt. 


Now, as the body count starts piling up, Mike is going to need Marcus, Rita, Captain Howard and all the help he can get if he’s going to survive.

THE REVIEW: One key component of HBO’s acclaimed Watchmen television series revolved around the idea of one of the main characters being able to experience another a person’s memories via the ingestion of a pill dubbed “Nostalgia.” And while they had an adverse affect on Regina King’s character at first, they ultimately led to revelations that eventually proven to be essential to her and the overall ending of the first (and only?) season of the series.Watching Bad Boys for Life, one might have a similar take – for while the beginning of the film may start off a tad slower and/or more mundane than one might expect, once it gets going, all the fond memories fans of the first two films had will come quickly back to life.

Whereas the first two films relied inordinately upon the chemistry between Smith and Lawrence to carry them in Michael Bay’s explosion-filled paradise, Bad Boys for Life adds small bits of nuance to the mix to dive deeper into Smith’s and Lawrence’s characters personal lives. Smith’s rockstar cowboy realizes he’s fading into the twilight if he doesn’t change his ways in a way that doesn’t feel terribly contrived, all while Lawrence, Pantoliano and the film’s supporting players add strong punches of humor into the mix. (It’s kind of what last year’s already forgotten Shaft movie was hoping for but didn’t quite get right.) The ideas of growing old and growing up are at dual play in the film, Lawrence and Smith luckily handle both with enough flair and finesse to not make the film too dry or too frivolous for its own good.

Of course, the nostalgia of watching 90s comedy icons Smith and Lawrence is likely going to be more than enough for most audiences as the duo hasn’t any of their timing. Likewise, the action sequences under the eye of co-directors Adil & Bilall have all the usual buddy cop/action comedy panache you’d expect yet feel more fresh than familiarly overblown (for the most part). Throw in some strong female representation from Hudgens, Nuñez and del Castillo and the film has the entertainment value to make casual and die-hard fans happy.

If nothing else, Inner Circle will be just as pleased to take home all those residual checks for his best known song once again.

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

McCoy on Movies: Uncut Gems

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Adam Sandler’s problematic protagonist makes fool’s gold out of Uncut Gems

“OK, OK – I won’t ask you anymore questions about LeBron if you agree to not ask me anymore about Rob Schneider!” Kevin Garnett, left, listens as Howard Ratner (Adam Sandler) tries to make a deal as their mutual acquaintance Demany (LaKeith Stanfield) looks on in a scene from the Safdie Brothers’ latest drama UNCUT GEMS. Credit: © and ™ A24 Films. All rights reserved.

 

WATCH THE TRAILER(S) HERE:


KEY CAST MEMBERS: Adam Sandler, Idina Menzel, LaKeith Stanfield, Kevin Garnett, Eric Bogosian, Julia Fox, Keith Williams Richards, Tommy Kominik and Judd HirschDIRECTOR(S): Josh and Benny Safdie

THE BACK STORY: Howard Ratner (Adam Sandler) is a jeweler in New York City’s famed “Diamond District.” He’s got healthy children with his estranged wife Dinah (Idina Menzel), a wealthy father-in-law in Gooey (Judd Hirsch) and a streetwise business partner in Demany (LaKeith Stanfield) to help him get clientele like Boston Celtics power forward and future NBA champion Kevin Garnett (yes, played by Kevin Garnett). 


Unfortunately, Howard also has a lot of personal problems caused by his demons. That’s why he has an apartment in the city where his employee/girlfriend Julia (Julia Fox) and he can enjoy their rendezvouses and he is a massive gambler, which is why his in-law Arno (Eric Bogosian) wants him to pay him the money he is owed ASAP. That’s also why Arno’s two “business associates” Phil (Keith William Richards) and Nico (Tommy Kominik) are ready to beat Howard any chance they get. 


So, what happens when Howard receives a rare gem that ends up tying his future with Garnett, Arno and Julia all together? Let’s just say you can bet on it changing all of their lives forever. 

THE REVIEW: Sometimes you see a movie that features actors turning in fine performances with characters that are realistic in a story that makes perfect sense given the world in which they exist. Likewise, the direction is tight, the camera work draws you into those characters’ respective worlds and the pacing (for the most part) makes sense. But, for whatever reason, you just aren’t captivated by it, it lacks something that makes many (outside of those into artistic endeavors and/or laud “cinema” or “movies”).Unfortunately in the case of Uncut Gems, this factor works against the film and turns what one would hope could be a diamond into a rather frustrating piece of fool’s gold.

Other than the surreal joy of watching Kevin Garnett playing Kevin Garnett without acting like he is Kevin Garnett, Uncut Gems features a protagonist who is the textbook definition of a sad sack due to his own inability to get out of his own way. Sandler’s Howard Ratner is manic, fast-talking, obsessive and unappreciative of his own fortunes, always driven by his next big hit. Naismith Memorial Basketball Hall of Fame coach Pat Riley once famously coined the phrase “the disease of more,” saying “Success is often the first step towards disaster” – meaning that once one has a little bit of it, the compulsion for more of it often leads to one’s own undoing. Perhaps the Safdie brothers, like Sandler himself, are really big basketball fans, hence their need to create a character Riley himself might deem uncoachable. Thus, Uncut Gems is much like being a fan of a popular sports team that the rest of the league hates – only built for die-hard Sandler fans only (for the most part) who will support “their guy” no matter what.

Unlike Robert Pattinson in the Safdie brothers’ previous effort, the stellar Good Time, Ratner has zero redeeming qualities to the point you almost – almost – enjoy watching him fail. This is a self-destructive man doing self-destructive things: That may be the point, but while it’s a point well-taken, it is also one that isn’t exactly (for lack of a better word) fun point to watch.

Whereas Pattinson’s character was trying to do something wrong to provide a better life for he and his mentally challenged brother, Sandler’s character is a pure narcissist who treats everything and everyone – Julia especially – like just another trophy. (Given that he is a jeweler and what gems represent in both the film and in American society, of course, the metaphors abound aplenty.) Sandler’s character is King Midas … And anyone who’s paid attention to any basic Greek mythology in a social studies class knows how well that worked out for him.

Which is a shame, because Uncut Gems had a lot more potential to be a good Christmas present for someone outside of just hardcore Sandler and Garnett fans.

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):

 
 

McCoy on Movies: The Rise of Skywalker

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Nostalgia, battle sequences likely enough to send longstanding
fans home happy with Star Wars: The Rise of Skywalker

“Just think – in some other galaxy, people will actually go pay to throw axes indoors when they could just get lightsabers and fight people to their potential deaths!” Kylo Ren (Adam Driver) faces off against Rey (Daisy Ridley) in a scene from STAR WARS: THE RISE OF SKYWALKER. Credit: © 2019 Lucasfilm Ltd.  & ™. All rights reserved.

 

WATCH THE TRAILER(S) HERE:


KEY CAST MEMBERS: Daisy Ridley, Adam Driver, John Boyega, Oscar Isaac, Anthony Daniels, Joonas Suotamo, Kelly Marie Tran, Richard E. Grant, Domhnall Gleeson, Carrie Fisher, Ian McDiarmid and Keri Russell with Billy D. WilliamsDIRECTOR(S): J.J. Abrams

THE BACK STORY: The ninth and final installment of arguably the greatest science fiction franchise in history, Star Wars: The Rise of Skywalker finds Rey (Daisy Ridley), Finn (John Boyega), Poe Dameron (Oscar Isaac) and General Leia Organa (Carrie Fisher) and what’s left of The Resistance preparing to take a grand final strike against The First Order, now firmly in the grasp of its new supreme leader Kylo Ren (Adam Driver) a.k.a. Ben Solo (if you don’t know why, you’re probably NOT ready to see this movie and need to catch up to the previous episodes). After a series of revealing discoveries, the Resistance and the First Order are set to face an epic clash, Rey and Kylo Ren destined to be the ones who may determine the fate of the galaxy.


Then again, the presence of the previously thought to be deceased Emperor Palpatine (Ian McDiarmid) may change both of their plans forever if he has his way.

THE REVIEW: You have four types of people when it comes to Star Wars: (1) The uninitiated/unconcerned, a.k.a. the people who have ever never seen a Star Wars movie, don’t care to see another Star Wars movie and/or don’t even know The Rise of Skywalker is here; (2) The relatively familiar – people who have seen one or two of the films, most likely the “original” three from the 1970s and 80s and are good with that; (3) the generally knowledgeable – they’ve seen all the films, but are not dedicated fans who can rattle of planet names or easter eggs from one film to the next; (4) the Comic Book Guys (or Girls). So named for The Simpsons-inspired character inspired in part by Star Wars-obsessive fans, they are protective of the franchise the way parents are a first-born child, love and hate different aspects of the series with the passion of a young Olympic boxer pursuing a gold medal and know so much Jedi/Sith trivia they would make Ken Jennings Jeopardy run look like child’s play.So, that all being said, as someone who falls into category 3 and knows plenty of people that fit into categories one, two and four, my spoiler free assessment of the last installment in the main Star Wars canon is this: Episode IX (nine for those who don’t remember their Roman numerals), while not perfect, contains enough positives to satisfy the people in the last two groups while perhaps making those in the first two groups curious enough to at least wonder what all the hype is about.

The previous Star Wars film, The Last Jedi, is a divisive issue among the hardcore fans as for as many people loved it, just as many seemingly did not – leading to it to serve as an “OK Boomer”-style case study in letting go of old things vs. embracing new possibilities. (You can read more about that here, here and here. Abrams has shared his thoughts on the matter extensively.) Whether that unconsciously (not likely) or consciously (most likely) played a factor in J.J. Abrams’ approach to the final installment may be up for debate, it won’t feel like it watching The Rise of Skywalker as the film tries to bridge a nostalgia gap for the old guard of fans while finishing the new work.

Here’s what most of you will care to know in regards to the actual quality of the film: The action sequences work well, Ridley proves herself capable of earning the massive responsibility her character is thrust into, Driver makes his character more than a Darth Vader clone and the classic elements of good vs. evil – complete with dad jokes aplenty courtesy of C-3PO. There are sky battles, ground battles, journeys across the galaxy to find missing pieces of information, character revelations, homages to the past … It’s a basic 2-and-a-half hour blowout of the things most fans have come to enjoy about the franchise.

Yes, it would be nice if Fisher hadn’t passed away before the filming finished (luckily for Abrams the cut footage from previous films fits in nicely). Likewise, some people may take issue with the incorporation of past characters into the film and their usage and the Palpatine situation may serve as the stuff of blogs and YouTube videos for many eons to come. Then again, when you’ve got over 40 years’ worth of cinematic history coming to an end, there is no way you’re going to satisfy everyone.

But, much like everyone’s favorite little green friend re-invented as a child on Disney+ once famously said, “Fear is the path to the dark side. Fear leads to anger. Anger leads to hate. Hate leads to suffering.” Thus, if you don’t embrace some change over the course of nine films, you’ve probably missed what Abrams and company have attempted to do: Deliver a fitting end to a story with plenty of history while giving it some fresh life along the way. After all, one must “Do or do not. There is no try.”

Keeping that sage-like wisdom will likely send most longstanding fans home happy from this galaxy to the next.

OVERALL RATING (OUT OF FOUR POSSIBLE BUCKETS OF POPCORN):